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This book explores the multi-movement Leipzig chamber works composed by Robert Schumann (1810-56). It adopts a two-pronged approach. On the one hand, it shows how this repertory illuminates Schumann's response to certain past and contemporary composers; to his own youthful, experimental past; and to various literary and cultural influences. At the same time, the book explores how different people have heard this music: listeners in Schumann's own day and beyond, in both Germanic and non-Germanic regions, and comprising the voices of critics, performers, audiences, even figures in disciplines outside of music.
"Robert Schumann (1810-1856) saw himself and his contemporaries as heirs of a venerable, largely Austro-German tradition whose value lay not just in the artworks of that past, but also in its ability to nurture present and future accomplishments. This outlook held true even for modern composers whose indebtedness to the past seemed less clear. As Schumann noted in 1838, "By no means did the new, so-called romantic school grow out of thin air; everything has its good foundation." More than a decade later Schumann put it more baldly to Franz Liszt: "No one is wholly original," a telling response to a representative of the then budding "New" German School. This perspective explains the importance that Schumann continually put on studying one's inherited musical traditions and the significant "individualities" who cultivated them. Nevertheless, mere imitation of past models, while helpful for training and study, risked one becoming "a mannerist and a Philistine." Thus Schumann always insisted that an artist "lead me a step further in the spiritual realm of art and provide poetic depth and novelty everywhere. Schumann's historical consciousness was in keeping with a larger cultural transformation in the nineteenth century, one that drew the past into various niches of the musical world. This period saw the development of various musical canons, with certain bodies of works and their composers assuming heightened cultural prestige for both contemporary musicians and audiences. Older esteemed works increasingly came to offer guideposts for younger composers, provide sources of programming for conductors and performers, and serve as touchstones of musical taste for people of various classes"--
Borodin: String Quartet in D Major. Debussy: String Quartet in G minor (Op. 10). Dvorák: Piano Quintet in A Major (Op. 81) * String Quartet in E-flat Major (Op. 51) * String Quartet in F Major (Op. 96) * String Quartet in G Major (Op. 106). Faure: Piano Quartet in C minor (Op. 15). Franck: Piano Quintet in F minor * String Quartet in D Major. Grieg: String Quartet in G minor (Op. 27). Mendelssohn: Piano Trio in D minor (Op. 49) * String Quartet in E-flat Major * String Quartet in D. Schumann: Piano Quartet in E-flat Major (Op. 47) * Piano Quintet in E-flat Major (Op. 44) * Piano Trio in D minor (Op. 63) * String Quartet in A minor (Op. 41) * String Quartet in A Major (Op. 41). Smetana: String Quartet in E minor. Tschaikowsky: Piano Trio in A minor (Op. 50) * String Quartet in F Major. Verdi: String Quartet in E minor.
Nineteenth Century Chamber Music proceeds chronologically by composer, beginning with the majestic works of Beethoven, and continuing through Schubert, Spohr and Weber, Mendelssohn, Schumann, Brahms, the French composers, Smetana and Dvorák, and the end-of-the-century pre-modernists. Each chapter is written by a noted authority in the field. The book serves as a general introduction to Romantic chamber music, and would be ideal for a seminar course on the subject or as an adjunct text for Introduction to Romantic Music courses. Plus, musicologists and students of 19th century music will find this to be an invaluable resource.
Robert Schumann was a unique personality in 19th century music: a celebrated music critic and champion of new composers as well as a talented performer and composer himself, he did much to modernize the literature and performance style for the piano. This book covers the key period of c. 1815-55, exploring how the generation that came after Beethoven was central in reshaping and refining the conception of the concerto style, and particularly the piano concerto. It relates Schumann's own compositional development to his musical environment, recreating the exciting milieu in which Schumann and his contemporaries lived and worked. Written in scholarly, but non-technical language, Robert Schumann and the Development of the Piano Concerto will appeal to college and conservatory teachers and students, as well as music connoisseurs. Also includes 60 musical examples.
This Companion is an accessible introduction to Schumann: his time, his temperament, his style and his œuvre. An international team of scholars explores the cultural context, musical and poetic fabric, sources of inspiration and interpretative reach of key works from the Schumann repertoire ranging from his famous lieder and piano pieces to chamber, orchestral and dramatic works. Additional chapters address Schumann's presence in nineteenth- and twentieth-century composition and the fascinating reception history of his late works. Tables, illustrations, a detailed chronology and advice on further reading make it an ideally informative handbook for both the Schumann connoisseur and the music lover. An excellent textbook for the university student of courses on key composers of nineteenth-century Western Classical music, it is an invaluable guide for all who are interested in the thought, aesthetics and affective power of one of the most intriguing figures of a culturally rich and formative period.